Jan 5, 2011

Malick gave Good Will Hunting its ending

During a recent interview with Matt Damon for The Times, I spoke at length about the writing of Good Will Hunting. The script arose, he said, from the stew of mixed feelings he had first as a Cambridge townie resentful of Harvard students, then as a Harvard undergraduate himself experiencing first hand the life he had been envying from afar.

“I think for us, coming from Cambridge, and living in a neighbourhood that was very much dwarfed by Harvard and MIT, we would look at these other people, these students who came in every September and think 'it's our city not yours' — all of those issues were very much a part of our lives and all the kids we knew and grew up with. And then I went to Harvard, and suddenly I was friends with all these people, and not seeing them as some strongman antagonist. Perfectly wonderful people too. So what does that mean? All that stuff bottled up in Good Will Hunting. Ben's father was the janitor. At Harvard. In fact his girlfriend at the time was the janitor in my dorm in my freshman year, which made it even more bizarre. So when on Friday night the kids would get too drunk and throw up all over the place, I knew who was going to clear it up and it was someone I considered a friend. That kind of shift came out, I think, in the soup of Good Will.”

After an intense bidding war ginned up by their agent, the script — which at that point included an action-filled sub-plot involving the CIA — was sold to Castle Rock.

"The original script that we sold had this high concept thing where the government was trying to get Will. Rob Riener sat with us for script meeting and said ‘why don’t you guys take all that stuff out?’ Wait a minute. We can do that? 'Yeah its enough just to make the movie about these guys. That’s a really good movie. That's what we really love about it. And we said 'we thought there was this whole high concept thing.’ ‘No you don’t need any of that’. At one point after Gus [Van Sant] became involved I was shooting The Rainmaker in Memphis and everyone came down for a script meeting. Gus came down and said 'I want to do a draft where Chucky, Ben's character, dies on the construction site.' And Ben and I were just mortified. 'What are you talking about’ ‘I want him to get crushed like a bug.’ We said ‘Gus what are you talking about? You cant just fucking smush Ben. That’s a terrible idea.’ Gus said 'no I really want to see what would happen.' So we did a whole new draft on weekends of The Rainmaker, when I wasn’t working, we would write, Ben and I did a whole draft, with a wake and everything. It took a left turn and went into this other place. The scenes in a vacuum I thought were good, but we still didn’t like the idea, then Gus read it said ‘okay its a terrible idea let's go back to what we had’.”

The idea for the ending was given them by Terrence Malick, who happened to be best friends with Affleck's godfather.

“We just asked if we could have a meeting with him. We went to Boston to see him. And we had it in the script that my character and Minnie's left together at the end of the movie. Terry didn’t read the script but we explained the whole story to him, and in the middle of the dinner, he said, 'I think it would be better if she left and he went after her.’ And Ben and I looked at each other. It was one of those things where you go: of course that ‘s better. He said it and he probably doesn’t even remmber that he said it. He started talking about Antonioni. 'In Italian movies a guy just leaves town at the end and that enough.’ And we said of course that's enough. That's where we come from. If you just leave that's a big enough deal. It doesn’t have to build up to anything more."

Well, Malick is definitely a genius. And while the ending is pretty much perfect, it's not the ONLY thing that makes Good Will Hunting so great. The screenplay as a whole is fantastic, and the theme of having to leave your roots behind is something that hit me on a personal level. That's probably why I liked White Irish Drinkers so much when I saw it at Toronto. It's a different perspective on the struggle to escape your hometown, one that isn't afraid to go to darker, grittier places than GWH. You should check out the poster: http://blog.moviefone.com/2011/02/07/white-irish-drinkers-poster

"The book is a must for Woody Allen fans" - Joe Meyers, Connecticut Post

.

R E V I E W S

"What makes the book worth taking home, however, is the excellent text... by Tom Shone, a film critic worth reading whatever aspect of the film industry he talks about. (His book Blockbuster is a must).... Most critics are at their best when speaking the language of derision but Shone has the precious gift of being carried away in a sensible manner, and of begin celebratory without setting your teeth on edge." — Clive James, Prospect "The real draw here is Shone’s text, which tells the stories behind the pictures with intelligence and grace. It’s that rarest of creatures: a coffee-table book that’s also a helluva good read." — Jason Bailey, Flavorwire

"There’s a danger of drifting into blandness with this picture packed, coffee-table format. Shone is too vigorous a critic not to put up a fight. He calls Gangs “heartbreaking in the way that only missed masterpieces can be: raging, wounded, incomplete, galvanised by sallies of wild invention”. There’s lots of jazzy, thumbnail writing of this kind... Shone on the “rich, strange and unfathomable” Taxi Driver (1976) cuts to the essence of what Scorsese is capable of." — Tim Robey, The Sunday Telegraph

"A beautiful book on the Taxi Driver director's career by former Sunday Times film critic Tom Shone who relishes Scorsese's "energetic winding riffs that mix cinema history and personal reminiscence".' — Kate Muir,The Times"No mere coffee table book. Shone expertly guides us through Scorsese’s long career.... Shone shows a fine appreciation of his subject, too. Describing Taxi Driver (1976) as having ‘the stillness of a cobra’ is both pithy and apposite.... Fascinating stuff." — Michael Doherty, RTE Guide"An admiring but clear-eyed view of the great American filmmaker’s career... Shone gives the book the heft of a smart critical biography... his arguments are always strong and his insights are fresh. The oversized book’s beauty is matched by its brains”— Connecticut Post

.

Click to order

“The film book of the year.... enthralling... groundbreaking.” — The Daily Telegraph

“Blockbuster is weirdly humane: it prizes entertainment over boredom, and audiences over critics, and yet it’s a work of great critical intelligence” – Nick Hornby, The Believer

“Beautifully written and very funny... I loved it and didn’t want it to end.” – Helen Fielding“[An] impressively learned narrative... approachable and enlightening... Shone evinces an intuitive knowledge of what makes audiences respond... One of those rare film books that walks the fine line between populist tub-thumping and sky-is-falling, Sontag-esque screed.” – Kirkus Reviews

“Exhilarating.... wit, style and a good deal of cheeky scorn for the opinions of bien-pensant liberal intellectuals.” – Phillip French, Times Literary Supplement

“Startlingly original... his ability to sum up an actor or director in one well-turned phrase is reminiscent of Pauline Kael’s... the first and last word on the subject. For anyone interested in film, this book is a must read.” – Toby Young, The Spectator

“A history of caring” – Louis Menand, The New Yorker“Smart, observant… nuanced and original, a conversation between the kid who saw Star Wars a couple dozen times and the adult who's starting to think that a handful might have sufficed.” – Chris Tamarri, The Village Voice

"A sweet and savvy page-turner of a valentine to New York, the strange world of fiction, the pleasures of a tall, full glass and just about everything else that matters" — Gary Shteyngart, author of Super Sad True Love Story and Absurdistan